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of solidarity for transcending the political variety. This evening some thirty years later I ^came across the photograph of Mies, ^evidently taken shortly before his death in 1972 in a London paper the face of a man in the upper eighties defiant and fearful.

By 1947 there were sketches and a model of the house. The model was packed and shipped to New York for the Van der Rohe exhibit at the Museum of Modern Art. This event must have been planned by at least certain of his ^sponsors crossed outimpressioncrossed out such as Philip Johnson, as a debut in the United States and timed for a moment at which success might crossed outbecrossed out reasonably be counted upon. During the first eight or ten years of his residence in Chicago, Mies had offended some of the crossed outdistinguishedcrossed out Chicago architects, who had procured for him the chair in archetecture at the Sel Inst of Technology, ^crossed outwithcrossed out the blank arrogance with which he as a refugee from Nazi Germany, had accepted ^the courtesies of this most useful post. Then, the first few buildings designed